pop music – Kenthe 390 http://kenthe390.com/ Mon, 14 Mar 2022 14:27:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://kenthe390.com/wp-content/uploads/2021/04/cropped-icon-32x32.png pop music – Kenthe 390 http://kenthe390.com/ 32 32 BIG WIN: List of All K-pop Winners of the 36th Japan Golden Disc Awards https://kenthe390.com/big-win-list-of-all-k-pop-winners-of-the-36th-japan-golden-disc-awards/ Mon, 14 Mar 2022 14:27:00 +0000 https://kenthe390.com/big-win-list-of-all-k-pop-winners-of-the-36th-japan-golden-disc-awards/

K-pop music as a genre has become well known around the world, but the Japanese market has always been lucrative for Korean music groups. With groups and soloists releasing their music not only in Korean but also in Japanese and Chinese versions, there is a sense of inclusiveness for K-pop acts in the Japanese music industry. On March 14, RIAJ (Recording Industry Association of Japan) officially announced the winners of the 2022 Golden Disc Awards, Japan, with BTS breaking a new record.

The 36th Japan Golden Disc Awards not only saw successful Japanese and international artists take home titles, but K-pop groups like Seventeen, BTS, Enhypen and others took home winning titles, proving K-pop dominance. -pop internationally. BTS also asserted their dominance in the music industry by becoming the most awarded artist at the 2022 Japan Golden Disc Awards, winning 10 awards this year alone.


BTS Scores World’s Highest-Grossing Movie Release With “PTD On Stage – Seoul” Concert

Are ITZY’s Yuna and Enhypen’s Jay dating? Idols praised for shutting down rumors

BTS lands 10 titles at Japan Golden Disc Awards

BTS did what they do best and broke a new record with 10 tracks, becoming “Artist of the Year” at the 2022 Japan Golden Disc Awards for the fourth time in a row. Apart from that, BTS also won four other titles in the Asia Division, four titles in the “Best of” Division as well as one title in the Western Division. In the Asia Division, BTS picked up “Album of the Year” for their Japanese album “The Best” as well as “Music Video of the Year” for “Map of the Soul ON:E.” BTS also won two titles for their English single “Butter,” where BTS won both “Song of the Year” by “Download” as well as “Stream.”

BTS also won four titles in the “Best of Division” where the group won one title for their album “The Best” in the “3 Best Albums” category. The group also won two more titles for “Butter” in the “Top 5 Songs” in the “Download” and “Stream” categories. The boy group also picked up a second win in the “Top 5 Songs by Stream” category for their 2021 single “Permission to Dance.” BTS’ latest collaboration with Coldplay also won “Song of the Year” by Download in the West Division.

Other K-pop winners

Alongside BTS’s ‘The Best’, Seventeen’s ‘Attacca’ as well as TXT’s Japanese debut album ‘Chaotic Wonderland’ won the 2022 ‘Asia’s Top 3 Albums’ title at the 2022 Japan Golden Disc Awards. scooped the “New Artist of the Year” award in the show’s Asia division, cementing HYBE’s dominance by becoming the label’s fourth group to score a win.

Enhypen also won another title at the 36th annual Japan Golden Disc Award. HYBE subsidiary Belift Labs’ Enhypen, JYP Entertainment’s ITZY and YG Entertainment’s rookies became Asia’s “Top 3 New Artists” with their Japanese debuts in 2021 respectively, earning wins at the 2022 Japan Golden Disc Awards.

If you have an entertainment scoop or story for us, please contact us at (323) 421-7515

[Seoul Subway Stories] Samgakji becomes home to K-pop and K-beauty powerhouses https://kenthe390.com/seoul-subway-stories-samgakji-becomes-home-to-k-pop-and-k-beauty-powerhouses/ Sun, 13 Mar 2022 06:57:00 +0000 https://kenthe390.com/seoul-subway-stories-samgakji-becomes-home-to-k-pop-and-k-beauty-powerhouses/
The following is part of Seoul Subway Stories — a new series from the Korea Herald that explores subway stations and their surroundings across the city. – Ed.

The headquarters of Amorepacific (left) and the headquarters of Hybe (Yim Hyun-su)

Located in Yongsan in central Seoul, Samgakji Station is one stop from Noksapyeong Station, where people would drop by to party in Itaewon or dine at restaurants in Gyeongnidan and Haebangchon. It is also within walking distance of Sinyongsan and Yongsan stations.

Wedged between the most popular destinations that surround it, the neighborhood has long been ignored by restaurateurs and trendy young people. Its association with Yongsan Garrison, the longtime headquarters of US forces in Korea, which is slated to be turned into a public park, and the lack of nearby attractions meant that Samgakji, which literally translates to “triangular land”, remained one of Seoul’s lesser-known neighborhoods, at least until recently.

In early 2021, South Korean entertainment juggernaut Hybe moved its headquarters to the Yongsan Trade Center. Home to one of the biggest boy bands in pop music history, BTS, the company has spearheaded the rise of soft power in the country in recent years.

In May, Hybe Insight, a music museum dedicated to fans of Hybe artists, opened in the neighborhood, bringing K-pop fans to the neighborhood who can often be spotted around the building.

Amorepacific Headquarters and Surroundings (Amorepacific)

Amorepacific Headquarters and Surroundings (Amorepacific)

Explaining her design philosophy, brand manager Min Hee-jin, who was in charge of space branding, once said that “a space can create an attitude, and an attitude can create values ​​and culture” and that the new headquarters is “designed to provide inspiration and convenience to diverse staff.

As you walk from Samgakji towards the Han River, you will see another building that stands proudly and tall with what looks like holes from the outside housing small gardens. The glossy-finished, square-shaped building, designed by English architect David Chipperfield and inaugurated in 2017, is the headquarters of South Korean cosmetics giant Amorepacific.
At night, the skyscraper lights up, enhancing the overall ambience of the surrounding area as well as Yongsan Station.

Hybe Insight (Hybe)

Hybe Insight (Hybe)

To coexist with the local community, the first three floors, filled with furniture made by young local artists, and the first basement of the building are open to the public. A spacious atrium welcomes you at the entrance of the building. The Amorepacific Art Museum, which opens Tuesday through Sunday, exhibits traditional and modern Korean art and showcases works by international artists.

The presence of the headquarters of these global companies makes the area a “hot spot,” as one local real estate agent put it.

“A lot of high-income people in their 30s and 40s seem to reside here,” said the agent, who wished to remain anonymous.

The impact was strongly felt in Yongridan – a commercial area between Samgakji Station and Sinyongsan Station.

While the narrow main streets filled with tall buildings encapsulate the concrete jungle that is central Seoul, the alleyways of Yongridan tell a different story – trendy whiskey and wine bars spring up as proximity to trendy neighborhoods of Itaewon and Haebangchon attracts businesses and customers alike.

A mural outside Samgakji Station (Yim Hyun-su)

A mural outside Samgakji Station (Yim Hyun-su)

Juxtaposed with them are eateries specializing in dishes for seasoned drinkers, like gopchang (grilled intestine) and nakji bokkeum (sautéed octopus).

And if you keep walking towards the Han River, Hangang Bridge awaits you with Nodeul Island sitting in the middle of the river.

In December, the Department of Transportation announced that Yongsan Park will encompass a total of 3 million square meters of land by absorbing sites previously occupied by the US military. The deadline was increased to seven years after the end of the US Army move, which is still undefined at this time. The previous plan was for an opening in 2027.

The project has been slow in coming and the land restitution process has experienced delays. But when the park finally opens, it’s poised to join the growing list of attractions around Samgakji Station.

By Yim Hyun-su (hyunsu@heraldcorp.com)

La Jolla Playhouse innovates theatrically with the musical “Bhangin’ It” https://kenthe390.com/la-jolla-playhouse-innovates-theatrically-with-the-musical-bhangin-it/ Sat, 12 Mar 2022 19:44:50 +0000 https://kenthe390.com/la-jolla-playhouse-innovates-theatrically-with-the-musical-bhangin-it/

Most Americans may never have heard of Bhangra, the energetic and expressive form of Indian folk dance and music that has swept the country for the past 30 years. But the creators of a new Bhangra-centric musical, currently premiering at La Jolla Playhouse, hope that will change.

Sam Wilmott, the composer of “Bhangin’ It: A Bangin’ New Musical,” believes the musical has the potential to transform the future of the art form of musical theatre. The genre-bending show, which officially opens March 20, blends the structure of traditional American musical theater with a story about second-generation Asian Americans exploring their cultural heritage through competitive intercollegiate Bhangra dance and music.

“I’ve shared the show’s work with my closest music writer friends and they’re laughing and they’re crying and they’re getting involved and they have no idea how to evaluate it,” Wilmott said. “They struggle with it because of the range of sounds and styles and how it’s in the weird valley of being a musical, but manifesting in ways they don’t recognize . There’s this learning curve, and it’s new to them.

The cast of La Jolla Playhouse’s first musical “Bhangin’ It: A Bangin’ New Musical.”

(La Jolla Playhouse)

“Bhangin’ It” is the story of Mary, a half-white, half-Indian American student who quits her university’s Bhangra team in East Lansing, Michigan, after her ideas for change are rejected. Undaunted, she and her roommate form their own Bhangra team to take on her former teammates at a national competition in Chicago.

Ari Afsar pictured at a film festival in New York in February 2020.

Ari Afsar pictured at a film festival in New York in February 2020. She leads the cast of La Jolla Playhouse’s ‘Bhangin’ It: A Bangin’ New Musical’.

(Getty Images)

The musical stars San Diego native Ari Afsar as Mary. The daughter of a Bangladeshi father and a German-American mother, Afsar grew up in Rancho Peñasquitos, starred as Cindy-Lou Who in the Old Globe musical “Grinch” as a child, and graduated from Westview High School before earning a degree in ethnomusicology at UCLA. . From 2016 to 2018, she starred as Eliza Hamilton in the Chicago production of “Hamilton.”

Afsar said she deeply identified with Mary’s journey to embrace her identity as both American and South Asian descent, and was thrilled to be a part of such a groundbreaking show.

“I think it’s such a beautiful and fun story that talks about something really big that hasn’t been talked about before,” Afsar said. “I’m learning about myself through Mary’s ongoing investigation of herself and how she can belong. It allowed me to see myself in a way that I had never seen before.

Ari Afsar, left, and Alka Nayyar in La Jolla Playhouse's

Ari Afsar, left, and Alka Nayyar in La Jolla Playhouse’s first musical “Bhangin’ It: A Bangin’ New Musical.”

(Rich Soublet II)

Bhangra (pronounced “BAHN-gruh”) originated in the Punjab region of northern India and Pakistan and was popularized and modernized in Bollywood films. In recent years, it has transformed with the influence of hip-hop and reggae music forms. In the early 1990s, students from a handful of American universities on the East Coast with large South Asian populations began to form Bhangra teams to build community and perform at cultural events. In 1993, George Washington University in Washington, DC hosted the first Bhangra demonstration competition, the Bhangra Blowout. Since then, Bhangra teams have exploded onto college campuses across the country, as well as into many major regional competitions.

Rehana Lew Mirza, who co-wrote the ‘Bhangin’ It’ book with her husband, Mike Lew, said she became a ‘super fan’ of Bhangra early in her college years, offering to teach writing classes at colleges across the country in exchange for free tickets to their Bhangra festivals. In her twenties, she wrote a screenplay on Bhangra but then put it away in a drawer to focus on playwriting.

In 2005, she met La Jolla native Lew at the Ma-Yi Writers Lab, a New York development space for Asian American playwrights. Lew is Chinese American and Lew Mirza is half Pakistani, half Filipino. She introduced Lew to the world of Bhangra on their first dates, they worked on her Bhangra play script together and when they married in April 2011 at the Museum of Contemporary Art in La Jolla there was Bhangra dancing at their wedding.


The ‘Bhangin’ It’ music creation team, from left, married book authors Mike Lew and Rehana Lew Mirza and composer Sam Wilmott.

(La Jolla Playhouse)

The storyline took a big leap forward in April 2013 when the couple teamed up with composer Wilmott for the “24 Hour Musicals” competition in Manhattan. The trio were tasked with writing a one-act musical in 24 hours, which they called “The Shotgun Wedding”. Somewhere in the wee hours of that night, the subject of the couple’s long Bhangra play came up and Wilmott was intrigued to read it.

“It was so obvious to me that it was a musical,” Wilmott said. “Music and dance are integrated into the world. There was such potential for multiculturalism in the score. In many ways it was modeled after the musicals I loved growing up, but it talked about what it means to be someone living in America today and grappling with the American experience and all its complexities.

Lew said he and his wife found an easy chemistry with Wilmott that helped the story grow beyond their initial imagination.

“There’s a lot of hybridity in the script,” said Lew, whose daring comedy “Tiger Style!” premiered on the West Coast at the La Jolla Playhouse in 2016. “Early benchmarks were Sam’s love of Golden Age musical theater, while Rehana and I are new to musicals but steeped in Asian American politics and identity politics and playwriting.”

Musician Deep Singh in a recording studio.

Musician Deep Singh infuses the musical score “Bhangin’ It” with Indian instruments and will perform in the show each night at La Jolla Playhouse.

(La Jolla Playhouse)

Six years ago, Deep Singh joined the creative team of “Bhangin’ It” to bring more musical authenticity to the project. The London-born, New York-based musician, producer and recording artist is a globally recognized expert in Indian classical, folk and pop music styles.

In a joint interview during a rehearsal break last month, the four creators spoke enthusiastically about their collaboration, often laughing and praising each other’s contributions. The quartet says that the synergy of their skills has allowed them to build bridges between various disciplines.

“We had to fight to find the overlap in our conversation,” Wilmott said. “The joy is that the trust we have for each other is so one-sided.”

The uniqueness of the project has garnered much praise and anticipation from theater industry leaders. In 2015 Wilmott won the Jonathan Larson Fellowship for his score “Bhangin’ It”. In 2019, the musical won the prestigious Richard Rodgers Award for Musical Theatre, which counts “Grey Gardens”, “Hadestown” and “Natasha, Pierre & The Great Comet of 1812” among its past recipients. And in 2020, Lew and Lew Mirza won the Kleban Prize as the most promising librettists of the year for their script “Bhangin’ It”.

La Jolla Playhouse has been attached to the project for four years and had planned to produce the world premiere much earlier, but the pandemic got in the way. Playhouse art director Christopher Ashley called “Bhangin’ It” “an utterly charming and dynamic new work about finding your identity and building community”.

The musical’s director is Stafford Arima, the Asian-Canadian who directed the Old Globe-born Broadway musical about Japanese American internment camps, “Allegiance.” Singh not only instrumentalizes the score with almost a dozen traditional Indian instruments, he will also perform with the orchestra and take the stage during the dance numbers each night to perform on the two-sided Punjabi dhol drum with the 18-member cast.

The show’s choreographer is Rujuta Vaidya, a globally recognized Bollywood choreographer whose credits include the dance performance “Slumdog Millionaire” at the 2009 Oscars. And Bhangra dance specialist Anushka Pushpala also joined the team.

“This show always amazes me with the way the dance feels,” Wilmott said. “It’s not like ballet or Fosse. You walk into the room with it and it looks like something else. It wakes up another part of you that you didn’t know you had.

‘Bhangin’ It: A Smashing New Musical’

When: Previews from March 11 to March 19. Opens March 20 and closes April 17. Opening hours, 7:30 p.m. on Tuesdays and Wednesdays. 8 p.m. on Thursdays and Fridays. 2 p.m. and 8 p.m. on Saturday. 2 p.m. and 7 p.m. on Sunday.

Or: Mandell Weiss Theater, La Jolla Playhouse Campus, 2910 La Jolla Village Drive, La Jolla

Tickets: $25 to $87

Call: (858) 550-1010

In line: lajollaplayhouse.org

COVID protocol: Proof of full vaccination required or negative COVID-19 PCR test result within 48 hours of completion, along with proof of identity. Mandatory masks for all inside.

The cast of

The cast of “Bhangin’ It: A Bangin’ New Musical” rehearses at the La Jolla Playhouse.

(Rich Soublet II)

Mimi Webb, Hanson, COIN, Metronomy and more – Billboard https://kenthe390.com/mimi-webb-hanson-coin-metronomy-and-more-billboard/ Tue, 22 Feb 2022 21:13:15 +0000 https://kenthe390.com/mimi-webb-hanson-coin-metronomy-and-more-billboard/

Looking for some motivation to get you through the start of another work week? We feel you, and with stellar new pop tracks, we’ve got you covered.

These 10 tracks from artists like Mimi Webb, COIN, Hanson and Metronomy will give you energy to tackle the week. Add any of these gems to your personal playlists – or scroll to the end of the post for a personalized playlist of all 10.

Mimi Webb, “The House on Fire”

Ahead of her very first US tour in support of Tate McRae, Mimi Webb has released a wonderful, biting pop track that could help her break through in much the same way “You Broke Me First” delivered McRae last year. Webb knows how to both attack a major pop chorus and strike a revenge-fantasy pose, singing in this heartbroken arson story, “I saw you out, it was zero degrees / And you had your hands under his sleeves / Oh, you said you weren’t cold, you liar! / Now I’ll set your house on fire. –Jason Lipshutz

Hanson, “Child at Heart”

Although Hanson’s decades-long career as adult pop audiences has always been rewarding, the three brothers will occasionally sneak into center-left fare on projects to keep their formula fresh. “Child at Heart”, from the next Red Blue Green album, is wider than Hanson’s normal stance, a showy pop-rock ballad with strings, epic lyricism and the kind of marquee hook just begging to be hummed by its second outing. – J. Lipshutz

Maeve Steele, “Tycho”

Looking for a dream-pop jam that personifies a lunar crater around 108 million years old? Rising Bay Area singer-songwriter Maeve Steele has you covered: “Tycho” reflects on natural beauty, loneliness and the passage of time with a shrewd eye and a warm, inviting sound, as Steele offers a list smooth playback even for those who don’t care about the moon. – J. Lipshutz

Yumi Zouma, “Where the Light Rested”

New Zealand’s Yumi Zouma creates alternative pop music that sounds lighter than air, as if Christie Simpson could pull melodies from the vapours, and present them to the masses. New single “Where The Light Used To Lay” may be a response to a breakup, but Simpson’s sonic tone, smooth synths, understated bass drum, and wispy backing vocals make for the quietest heartbreak imaginable. – J. Lipshutz

Knocks’ feat. Dragonette, “Slow Song”

Like Meghan Trainor’s first hit, The Knocks’ new collaboration with Dragonette is all about that bass: disco pastiche shimmers with veteran Dragonette charm – she wraps her vocals around the words “I’ll PLAY you!” with supreme affection – and a cool pillow of synths, but the track picks up momentum thanks to the Knocks’ bassline, jagged on arrival and effective in its light funk. – J. Lipshutz

Bad Boy Chiller Crew feat. Becce J, “Always Be My Baby Boy”

Yorkshire trio Bad Boy Chiller Crew have their formula: house samples, pop hooks, fast rap bars that lean into the thick of their British accents, rinse, repeat. New album Disrespectful delivers plenty of euphoric moments thanks to this shot, and the sweet “Always Be My Baby Boy” — with Becce J providing the aforementioned pop hook this time — is likely the track that will help more listeners across the pond catch on. – J. Lipshutz

Porsh Bet $, “Here”

“Here” is a blissful, slightly distorted summertime climax of things on the way, the second EP from Porsh Bet$, transplanted to Los Angeles, born in Harlem. The project is an eclectic snapshot of the up-and-coming singer-songwriter as he discovers his sonic palette, which spans backpack rap, emo, alt-rock and R&B — so far, it doesn’t seem there isn’t much he can’t do. –Joe Lynch

Metronomy, “Right on time”

Pandemic blues – not to mention electronic musical influences – is in the rearview mirror on “Right on Time”, a dynamic Metronomy chant. The long-running English indie band seem to have matured without becoming jaded or stale, returning with top-notch songcraft and a confidence that’s sure to lift your spirits. – J. Lynch

Tame Impala, “The Boat I Row”

Tame Impala’s Kevin Parker continues to deliver hidden 2020s gems The slow race releasing a new set of remixes and B-sides from the project. “The Boat I Row” is the latest offering from the psychedelic pop crooner (it follows the previously released single, “No Choice”), and sees him deepen his signature style – groovy and infectious. –Starr Bowenbank

COIN, “I think I met you in a dream”

COIN – the indie-pop trio of vocalist Chase Lawrence, drummer Ryan Winnen and bassist Joe Memmel – return with “I Think I Met You In a Dream”, a summer-ready track that mixes 90s influences and psychedelic rock, but with a dreamy, modern twist. Lawrence’s voice floats over a bed of steady rhythms and intricate acoustic guitar work, as he fantasizes about the best times spent with his lover, now only a distant memory. – S. Bowenbank

Yeule’s new album ‘Glitch Princess’ is a gothic rave of emotion – The Aquarian https://kenthe390.com/yeules-new-album-glitch-princess-is-a-gothic-rave-of-emotion-the-aquarian/ Wed, 16 Feb 2022 17:00:00 +0000 https://kenthe390.com/yeules-new-album-glitch-princess-is-a-gothic-rave-of-emotion-the-aquarian/

In a glitchy transcendence to the ethereal realm, Yeule creates a cyber-gothic atmosphere this explores reality, imperfection and the body.

glitch princess is the second feature film project by 24-year-old London-based, Singapore-born non-binary artist Nat Ćmiel. Since 2014, Ćmiel has been releasing computerized ethereal pop music under the name Yeule, with Serotonin II as their 2019 debut album. On this 2022 release, they got even more exploratory than their last release, and while the album is full of glitchy computerized textures, it’s Yeule’s most human-like record.

Atop a hum like a running computer fan and sporadic synths, Yeule delivers a cybernetically flawed spoken-word introduction on the opening track “My Name is Nat Ćmiel”. You feel like you’re traveling through a cyber-dimensional wasteland, discovering a malfunctioning cyborg repeating a message endlessly.

Lyrics such as “I like to dress up and not go out. I like my cat, Miso. I like touching myself. And I like being away from my body. glitch princess intense and uncomfortable, and also meditative. The sonic wash of “Fragments” acts as an elevator to the next dimension with Yeule’s voice crackling with comfort until the song is overwhelmed by the cries of ones and zeros. There are some beautifully crafted pop moments on the record, such as the jungle trance beats in “Too Dead Inside” and the heart-pounding hyperpop explosions on “Bites on My Neck.”

It’s hard to write about what we lack as humans, to turn it into something meaningful and tasteful. Topics of body image, eating disorders and substance abuse are addressed so viscerally and gracefully by Yeule. “Perfect Blue,” featuring Japanese hip-hop artist Tohji, shines a light on obsessive qualities, the way we perceive our bodies and shape them to match something glorified. “Didn’t fit the shapes you cut / Made me wanna stab my belly.”

“Friendly Machine” is a graphic track exploring the pervasive thoughts of death, putting those feelings of unhappiness into words. Meanwhile, the outro track “Mandy” is a dialogue between the singer and a drug-induced impersonation—an impersonation that absolutely tears reality in two with the screams of “MANDY!” and shearing of defective textures.

glitch princess is a beautiful album; glorious at times because of Yeule’s ability to be so open and honest about what we lack as people. The guitar “Don’t Be So Hard on Your Own Beauty” sinks into the middle of the disc’s track listing as a sort of sweet respite from the rest of the digital tracks. It’s all acoustic guitar with the occasional high-pitched melodic percussion and Ćmiel’s vocal layering under a diary-entry-like flow of vocals. It does not strongly present the digital timbre of the rest of the album, but it carries the mission of glitch princess.

There’s a spiraling nightmare of self-destruction for the singer, but they have this support entity that reassures them not to be so hard on themselves. “You left me crying and wiping my eyes,” Yeule sings. “And make me feel more than nothing sorry.”


The Translating Fans Behind K-Pop’s Global Success https://kenthe390.com/the-translating-fans-behind-k-pops-global-success/ Wed, 16 Feb 2022 10:50:00 +0000 https://kenthe390.com/the-translating-fans-behind-k-pops-global-success/

VICE K-Pop: music, fandom, celebrities and all things K-pop.

This month, VICE is going all out on all things K-pop and Korean music, with articles and videos about music, fans and celebrities.

Anyone planning to get into K-pop knows all about the huge amount of content they have to consume to become familiar with their band of choice. Music videos and the weird press tour usually do the trick for their Western counterparts, but with K-pop acts there are seasons of reality and variety shows, behind-the-scenes footage, dramatic episodes – the list goes on.

The conversion from curious spectator to committed fan would be impossible if international fans are unable to understand what they all mean, which makes fan translators indispensable today, when K-pop has become a phenomenon. global. This loyal legion of supporters have made it their mission to provide correct and consistent translations to non-Korean speakers, all for the affordable price of zero dollars and zero cents, and the promise of unwavering support for their idols. .

Fan translators often take up the challenge due to the lack of Korean media coverage available in other languages. Although company transcripts in other languages ​​such as English, Spanish, and Indonesian, among others, are provided from time to time, they are often riddled with inaccuracies.

“It’s always the ones that seem to blow up and cause a lot of misunderstandings,” Young said (@17_HAMZZI on Twitter), a 29-year-old translator from K-pop boy group SEVENTEEN, told VICE. “I would have liked someone who was fluent in both [English and Korean] would go out and fix [the mess], so I guess that’s one reason I started doing it. She and the other translators VICE spoke to asked to be identified only by their first names to protect their privacy.

This line of work is not new, having served as a bridge between supporter and idol since the days of LiveJournal and Dailymotion. But what sets the current generation apart is how they’ve managed to turn this simple hobby into a successful business, with a level of organization and online savvy that was just beginning in the mid-2000s. While most of these translators hang out on Twitter, they are also on other corners of the internet such as YouTube and V Live, a streaming platform for Korean celebrities.

Since K-pop content usually spans multiple categories, most translators adopt a certain niche that allows them to focus on a specialty and manage the workload. Some support shorter but more frequent social media updates, such as Misa (@misayeon), administrator of a Twitter fan account dedicated to the girl group TWICE, with nearly half a million followers.

“Usually what I would do is around morning time in Korea, I would open the Naver page,” she told VICE, referring to the South Korean search engine and news portal. Korean. “I know what time important articles usually come out, so I just check a few times to see if they have anything important. If they don’t, I go about my day and mostly rely on notifications to the novelties that could possibly be translated.

Meanwhile, others are overseeing larger-scale projects such as hour-long radio episodes and entire seasons of pre-debut survival shows. Raw footage is usually viewed in sections, then put through several rounds of reviews before being released to the public. Since this is no small feat, fans often band together to spread the load. Suvi, 28, project manager for K-pop translation YouTube channel @Like17Subs, told VICE that their 50-person team is made up of Korean language learners from different locations and skill levels.

“There are typists and timekeepers who can only speak [Korean] good enough to understand where sentences start and end, and quality checkers – traditional speakers who can read lips, when we have trouble hearing what [SEVENTEEN] say,” Suvi said. As she only has time for administrative work these days, her role is to continue to “look for volunteers and keep everyone updated on which parts have already been completed and which still need to be filled”.

It’s a lot of hard work to balance on top of real-life responsibilities, especially since fan translators cater to a market that wants everything on-demand.

“A lot of people on Twitter and YouTube message me, asking me when this radio show is coming out or if I can focus on this one instead because they want to see this member,” Young lamented.

The heaviness of this whole process can make fandom less fun.

“I watch [what I translate] so many times that I sometimes get fed up. I love the band, I love the members, but by the time I’m done, I’m like, ‘Oh my god, I’m sick of their voices!’ Even though I want to help, I don’t want it to be something that causes me more stress and makes me want to leave. [fan translation work].”

“I watch [what I translate] so many times that I sometimes get fed up. I love the band, I love the members, but by the time I’m done, I’m like, ‘Oh my god, I’m sick of their voices!’

Posting updates at lightning speeds also doesn’t give them much time to provide context, which could hurt the image of the idols they want to represent. This risk is particularly apparent in the realm of live translation. Cel, 21, administrator of a Twitter account @_KingdomUpdates, knows this all too well, as his posts for the Mnet survival show have already sparked a war of words among fans of the participating groups. What was actually a casual observation by a contestant was mistaken for shading directed at his contestant, resulting in hurtful online exchanges.

“It was in no way controversial from a Korean speaker’s perspective, but it was taken out of context. I remember watching afterwards and seeing the number of retweets and likes on the tweets I created increase dramatically,” she recalled. “It was definitely a challenge because you try to go fast but also try to be precise and present everyone in an unbiased light, while keeping the American speaker’s point of view in mind when translating as well. from Korean.”

Little leeway is given to those who make mistakes in the process, as fan translators are usually held to a higher standard by their idols’ fellow fans. There is a constant pressure to portray their idols perfectly and even take on leadership positions, which is a responsibility that none of them have underwritten or prepared for.

“I don’t like it, to be honest,” Misa admitted. “I would like to be seen as just a regular fan who can fangirl my favorite artists, but I feel like a lot of people take what I say as an official statement. I can’t even say I like them. this member’s hair today without anyone saying to me, ‘Oh, what about the other members’ hair?’ I can’t be a personal account anymore, and that’s kind of sad. But that’s the way it is.”

“I would like to be seen as just a regular fan who can fangirl my favorite artists, but I feel like a lot of people take what I say as an official statement. I can’t even say I like them. this member’s hair today without anyone saying to me, ‘Oh, what about the other members’ hair?’ I can’t be a personal account anymore, and that’s kind of sad. But that’s the way it is.”

Despite the challenges they face collectively, the fulfillment they get in return and the impact they have on the lives of fans is immense. For example, VICE spoke to Zhali Lucina, a fan who relies on translations to dissect the quirky AI world of girl group aespa. “A part of [aespa’s] the content comes with auto-generated English subtitles, but it’s always different when the translations are done by the fans themselves,” she said.

“Due to [fan translations]I appreciate the details [of the members’ comebacks] more and feel connected to the group. Sometimes I feel like I’m in KWANGYA too, even though I don’t know where it actually is,” she explained, referring to the alternate dimension of Aespa mythology.

When Lou del Rosario fell down a rabbit hole on DAY6 in early 2021, she discovered another dimension to the industry she’s loved for a decade.

“I now keep a notebook with the Korean lyrics and their English versions of the songs that really struck me. Even when I’m alone, I’m able to comfort myself and find the solace I would normally get from my friends and loved ones. my family,” she reflected, leafing through her notebook.

“I now keep a notebook with the Korean lyrics and their English versions of the songs that really struck me. Even when I’m alone, I’m able to comfort myself and find the solace I would normally get from my friends and loved ones. my family.

None of this would be possible without fan translators, she said. “We’re really counting on fans who know Korean well to spread the word.”

In many ways, these translators are the invisible promoters partly responsible for K-pop’s global success, which is precisely why they choose to fight every day.

“My main reason [for running my account] It’s just because I love TWICE: I want to translate their words correctly, convey them to the international community and give them a good image,” Misa explained.

“I’d rather be part of the team that helps make the translations as accurate as possible than waiting for someone to do it themselves,” Suvi said.

But this high-risk, high-reward environment isn’t for everyone. A budding translator must not only have a solid command of both languages, but also an awareness of what is really at stake.

“There is a concept of communication as a way of constructing reality – the things we say influence the way we perceive things, and the way we perceive things is [what makes up] our reality,” Cel said. “When I communicate something, I take a lot of responsibility, knowing that what I say has an impact.”

“People don’t necessarily take translations with a grain of salt – they usually only take a translation that others trust without thinking about [it]”, Suvi said. “These fans may have a twisted view of how an idol is because the only way they consume their idols’ work is through your translations. Keep in mind that you influence how others interact with a group.

Follow Angel Martinez on Twitter and Instagram.

Australian children’s band The Wiggles top Triple J Hottest 100 | Triple J hottest 100 https://kenthe390.com/australian-childrens-band-the-wiggles-top-triple-j-hottest-100-triple-j-hottest-100/ Sun, 23 Jan 2022 00:16:00 +0000 https://kenthe390.com/australian-childrens-band-the-wiggles-top-triple-j-hottest-100-triple-j-hottest-100/

The Wiggles took the top spot on the Triple J Hottest 100 with their cover of Tame Impala’s 2012 song Elephant.

The children’s performers had a viral hit in March when they transformed the track from Triple J’s cover series, Like a Version, by infusing it with the chorus of their song, Fruit Salad.

The group posted their joy of the victory on Twitter.

While it might seem like an unlikely win, this isn’t the first time a Like a Version cover has ranked high on the Hottest 100. As Shaad D’Souza points out, covers with novelty value often resonate with listeners at No. 6 in 2016 and Alex Lahey’s cover of a track from My Chemical Romance rose to No. 83 in 2020.

The Wiggles, however, edged out the song which was widely tipped to win the annual poll. The Kid Laroi and Justin Bieber were favorites to win with their collaboration Stay, which has now reached No. 1 on the song charts in more than 20 countries. Stay came in second place.

Had Stay topped the poll, it would have made 18-year-old rapper Kamilaroi Laroi, who grew up in the Sydney suburb of Waterloo, the first First Nations artist to reach No. 1 on the Hottest 100.

Perth quartet Spacey Jane hit No. 3 with their track Lots of Nothing, one of three songs they featured in the countdown.

Disney actor-turned-popstar Olivia Rodrigo was another big winner in this year’s poll. Her song Good 4 You ranked No. 4 on the countdown, with four other tracks from her debut album, Sour, also making the hottest 100. the station’s attitude towards mainstream pop music – in 2015, Taylor Swift’s track Shake It Off was banned from entering the Hottest 100.

Another pop favorite, Billie Eilish, who topped the poll two years ago and was the most played artist on Triple J in 2021, placed at No. 5 with Happier Than Ever.

The Kid Laroi, Justin Bieber, Genesis Owusu and Amyl of Amyl and the Sniffers. Composite: Rex/Shutterstock, Getty Images, AFP, Alamy

Local artists such as Rüfüs Du Sol, Lime Cordiale and Ocean Alley also each had several tracks in this year’s poll. Further down the poll, Genesis Owusu, who won four Aria Awards at last year’s ceremony for her acclaimed debut album Smiling With No Teeth, ranked No. 75 with Gold Chains. Amyl and the Sniffers landed at No. 28 with their track Hertz.

The Hottest 100 wasn’t the only countdown underway on Saturday: on Twitter, the @OzKitsch account provided comic relief with its “Coldest 100”, which looks back on curious Australian musical moments. In a nod to the Wiggles who took part in this year’s Triple J poll, their countdown was topped with a 2014 video of the band performing a musical number on poppadoms.

The Hottest 100 comes after another tough year for the Australian music industry. The pandemic has forced the widespread cancellation of music festivals and live tours in 2021, costing thousands of industry professionals their livelihoods and prompting some artists to find work elsewhere. The collective I Lost My Gig estimated that since March 2020, the Australian live music industry has lost an average of $64 million in revenue each month.

Over 2.5 million votes were submitted in this year’s Hottest 100. Triple J aired the Hottest 200 on Friday, revealing the songs ranked 200-101 in this year’s poll, with Sydney pop artist May-a coming in at No. 101 with her single Time I Love to Waste.

]]> From Justin Bieber to… the Wiggles? What to expect from Triple J’s Hottest 100 | Triple J hottest 100 https://kenthe390.com/from-justin-bieber-to-the-wiggles-what-to-expect-from-triple-js-hottest-100-triple-j-hottest-100/ Wed, 19 Jan 2022 16:31:00 +0000 https://kenthe390.com/from-justin-bieber-to-the-wiggles-what-to-expect-from-triple-js-hottest-100-triple-j-hottest-100/

Since its debut in 1993, the Triple J Hottest 100 has become a minor national obsession: the subject of intense scrutiny, widespread coverage and constant chatter on social media.

This year’s countdown – which airs on the Australian youth broadcaster this Saturday – is no different: with a collaboration between Justin Bieber and Kid Laroi named as favorites to win, along with Olivia Rodrigo and Billie Eilish, conversations about Triple J’s mainstream pop music playlist have been reignited – as last year’s firestorm over an allegedly ageist tweet from the station still looms large in the minds of many.

If you haven’t been paying much attention in the past 12 months, or need a reminder before you log in, here’s a form guide to get you through Saturday’s countdown.

sure things

There’s a pleasant — or, depending on who you ask, infuriating — consistency in the habits of the Hot 100 Voters, despite the music that comes out every year. For example, Eilish, winner of the 2019 Hottest 100 with Bad Guy, released an album last year, so you can expect her biggest single, the track Happier Than Ever, to appear somewhere in the upper echelons of the countdown.

Transformative and vaguely new Like A Version covers also tend to do well – for example, DMA’s cover of Cher’s Believe (2016’s #6) and Alex Lahey’s cover of My Chemical Romance’s Welcome to the Black Parade (No. 83 in 2020) – so it won’t be a surprise if the Wiggles’ takeover of Elephant from Tame Impala makes its way up there. The 100 Warm Tunas website, which analyzes voting data from the 100 hottest social media posts, actually named the children’s group for No. 1.

And perennial 100 hottest favorites like Gang of Youths, Rüfüs Du Sol, Ball Park Music and Dope Lemon each released a swag of singles in 2021 – so keep an ear out for all of them.

The (not so) outsiders

Nearly a decade after Taylor Swift’s Shake It Off was banned from entering Countdown, it looks like Triple J’s skill set has changed — a lot. This year’s Hottest 100 is expected to feature an onslaught of Swift-level pop megastars of the genre you usually hear on commercial radio. Laroi and Bieber’s collab, Stay, is set to release the countdown, with tracks from giant Rodrigo, e-girl queen Doja Cat and Eilish not far behind. 100 Warm Tunas also includes tracks from Halsey, Peach PRC, Lil Nas X, Bruno Mars and Lizzo on its prediction list.

Olivia Rodrigo won Best New Artist at the American Music Awards in November – and is set to feature high on the Hottest 100. Photography: Rob Latour/Rex/Shutterstock

It’s easy to balk at this pop invasion, but you could say the countdown has always favored mainstream stars: many past winners – including Glass Animals, Eilish, Kendrick Lamar, Angus & Julia Stone, Mumford & Sons, Kings of Leon and Muse – were all already major label stars with huge international fans when they passed their respective countdowns. Despite the alternate plating, their checks were still drawn from the same well as Swift’s.

There’s a lot to be said for whether Triple J’s centrist turn is a good thing or a bad thing, but at the very least, it’s sure to be an interesting countdown. And if Laroi, a rapper from Kamilaroi, Is it that winning first place will also be a historic place: he will be the first First Nations musician to reach first place.

The maybes

Lorde, who cracked the top 10 in 2013 and 2017, is unlikely to make it this year, after her long-awaited third album Solar Power came to an extremely lukewarm response. The 100 Hottest Clips Hilltop Hoods didn’t release anything last year, so they’ll be a noticeable absence as well – as will Flume for the same reason, after appearing in the last two consecutive top fives, he won’t be looking for the -tour hat; it didn’t drop last year either.

The absence of these heavyweights, however, means there could be room for someone who had a huge 2021 to sneak into the top 20 – like, say, Genesis Owusu or Amyl and the Sniffers, who have each released superlative records in the past 12 months.

Talking Points

In September of last year, Triple J’s Twitter account – which posts in a tongue-in-cheek, wry tone – tweeted, “Does it hurt? when you got old off the youth radio station”. Backlash ensued from a number of listeners and musicians, including Ainslie Wills, who said she stopped receiving rotation on Triple J once she turned 30; music journalist and publisher Poppy Reid, who underlined that there was a broader systemic and gender issue at play; and Jack Colwell, who said the station once told him he was “too old” to be played.

While this is undeniably a bad image, it may not have been a bad move for the station: it’s no secret that, despite its national mandate to serve the 18 at 24, his audience tends to be a little older, and there’s a chance this scorched-earth post signaled a change.

Still, perhaps the winner of the countdown will be the true judge of where Triple J stands in 2022: with Laroi-stanning Gen Z, or the nostalgic millennials of Wiggles.

]]> What can we expect from J-pop in 2022? https://kenthe390.com/what-can-we-expect-from-j-pop-in-2022/ Fri, 14 Jan 2022 02:00:51 +0000 https://kenthe390.com/what-can-we-expect-from-j-pop-in-2022/

If the past two years have taught the world anything, it’s the precariousness of predictions. January 2022 has arrived, but with the spread of omicron raising new concerns, all I can do is look at my recently purchased calendar and give up. Maybe leaving the dates blank would be a better decision than making plans.

J-pop has perfectly demonstrated this unpredictability over the past 24 months. Less than a year into the COVID-19 pandemic and with most people unable to attend live events or visit music stores, the industry has long scoffed at its reliance on CD sales and reluctance towards anything digital and began to adapt to the internet. Major Japanese artists have started uploading their entire catalogs to streaming services, while a new generation of young artists have been given pride of place thanks to YouTube and TikTok.

There is no doubt that 2022 will bring even more changes. Still, there are enough developments and signs from the past year to make educated guesses about what’s to come. And hey, even if those predictions are wrong…it’s just a reflection of the times, right?

A brighter vibe for J-pop

The mood for Japanese pop music is at a two-year low. Hits from rising outfits such as Yoasobi and Ado linger on gloom and exhaustion, reflecting the mood of the country as a whole. The emotional and physical toll of living through a pandemic is bad enough, but there is also a general sense of existential dread and anxiety about the future. It’s understandable that so many people are drawn to the most depressing sounds.

The mood for J-pop will likely improve in 2022, however, as listeners seek brighter escapes from the world around them. Major artists have been tiptoeing towards upbeat sounds over the past six months, including Yoasobi, who let in some sunshine with their hopeful song, “Sangenshoku.”

The best indicator of a change in mood might come from Kaze Fujii, a singer-songwriter who has emerged as a new voice in the Reiwa era (2019-present) thanks to dizzying tunes celebrating the little thrills of life. love and life. He’ll likely lead the charge to balance J-pop’s serotonin levels over the next 12 months.

TikTok: the next star creator

For the most part, the short-form video platform TikTok has been like a slot machine for the Japanese music industry. Pull the handle and hope some teenager in the US created a catchy meme to your 40-year-old urban pop song. Even for national viral trends, TikTok hits require a degree of randomness.

With the platform now established in Japan, however, musicians and labels will no longer approach TikTok as a bet, but as a place to build fanbases, and savvy young creators such as genre whirlwind Wurts have used the app and other social media platforms to get established. Surprise hits will always emerge, but it won’t be as chaotic as more and more companies figure out how to introduce new musical names into this digital space.

Youth at the front

Most pop songs produced by labels these days target teenagers, who have the power to turn a track into an overnight sensation via social media, but songwriters are often outside of this demographic. . That will change as more Japanese teenagers start creating their own anthems and distributing them through platforms such as TikTok, allowing for varied perspectives on young people in the country today.

Recently graduated artist Neriame demonstrates this perfectly with her viral hit, “Yo-kya JK ni Akogareru In-kya JK no Uta”. The hip-hop-scotched cut rejects the usual trappings of high school youth (“caramel/marshmallow/strawberry candy”) in favor of Apex Legends video game and individuality. Why should kids settle for what labels have to offer when they can create their own hits?

Move over, city pop

The glitzy funk sound of 1980s city pop remains Japan’s hottest musical export. He may even have reached his biggest mainstream moment yet in early 2022: Canadian pop heavyweight The Weeknd sampled Aran Tomoko’s 1983 single “Midnight Pretenders” for “Out of Time “, a song from his latest LP, which is bound to be one of the bestsellers of the year.

Part of the thrill of the internet’s interest in this once-obscure genre, however, was the sense of discovery that came with it. It’s great that an artist who performed in the Super Bowl brings more shine to the style, but it also means that the feeling of undiscovered gem fades.

For the next wave of online cool inspired by the sounds of the past, let’s look at the Heisei era (1989-2019). Shibuya-kei of the 1990s once defined hip Japanese music for listeners overseas, and seeing as it was the next stage in the evolution of urban pop, it makes sense that modern listeners are flooding the style of a new love. Bank on Pizzicato Five, whose catalog still sounds fresh and finds its way to subscription streaming platforms at just the right time, to introduce Shibuya-kei to the extremely online generation of 2022.

Mental health at the center of attention

Sony Music Japan is already at the forefront of mental health support, having launched a program last August that offers mental and physical health checkups and counseling for artists signed with the company. Spurred on by the havoc the pandemic has taken on its performers, Sony’s decision has been a long time coming, given the heavy demands that come with being a major musician in Japan. Expect more companies to follow suit as other entertainment sectors also grapple with mental health.

Taking notes on K-pop

Last year, South Korean music companies dreamed up hybrid projects, using K-pop market know-how to take J-pop globally and launch bands such as NiziU and OJ1. In 2022, Japanese entities will try to do the same themselves, learning from their South Korean neighbors but finding their own voice in the process.

Leading the pack is Be:First, a pop group built from a Hulu reality program overseen by rapper Sky-Hi and featuring production from longtime staple (and critic) Taku Takahashi. J-pop. They’ve already garnered solid views and performed online, while also being dubbed one of the “big trends” of 2022 by Nikkei Trendy magazine. Whether they can show that Japanese-born companies can keep up remains to be seen, but they will certainly add some very welcome musical diversity to the J-pop boy band scene.

The cutting edge of J-pop: idols

The age of all-female idol-pop groups has long since passed, with once-ubiquitous names like AKB48 struggling to retain their relevance. All of these pandemic-induced changes have pushed idol music to the fringes, which is actually the best place for this corner of J-pop.

Safely removed from the zeitgeist, idol groups now have the opportunity to experiment in ways they haven’t before, and in 2021 some of Japan’s most exciting music came from idol groups. Recent highlights include the surreal house sounds of femme fatale escapism, the hyper-fast beat of @onefive and the heart-pounding drum ‘n’ bass of Batten Girls. Forget the sound of 2022, the ideas that idol groups will explore in the coming months will offer insight into the sounds that mainstream J-pop will embrace in the years to come.

In line with COVID-19 guidelines, the government is urging residents and visitors to exercise caution if they choose to visit bars, restaurants, music venues and other public spaces.

In an age of both misinformation and too much information, quality journalism is more crucial than ever.
By subscribing, you can help us tell the story well.



]]> Charting the course of the K-Pop boom https://kenthe390.com/charting-the-course-of-the-k-pop-boom/ Fri, 07 Jan 2022 15:31:31 +0000 https://kenthe390.com/charting-the-course-of-the-k-pop-boom/

If you’re not used to keeping your finger on the pulse or prefer to stay in your own lane when it comes to your musical pursuits, you may not have noticed that a new Asian music scene. from the East has taken the world by storm. We are of course referring here to K-pop, which is the abbreviation for Korean Pop. While Korea has had its fair share of international musical successes in the past, with quirks like Psy’s groundbreaking 2013 hit “Gangnam Style” making its mark on airwaves and dance floors across the world, the K -pop proper refers to a specific sound and aesthetic.

Image credit: Unsplash

From the 2020s, the scene definitely erupted outside the confines of his homeland. In 2021, as many as 26 Korean loanwords entered the annals of the Oxford English Dictionary, a strong sign of increased cultural currency in the English-speaking world. Along with K-pop, the term Hallyu has gained ground. This word broadly translates to ‘movement’ and has become an abbreviation for the wider Korean cultural wave that encompasses, in addition to K-Pop, Korean TV hits such as Squid Game and movies, as pictured. . by the 2019 wonder, Parasite of Bong Joon-ho. The K-pop phenomenon has had an unprecedented impact on global culture, with everything from BTS x McDonalds Happy Meal collaborations to the growing popularity of colored contact lenses in the UK, signaling the ascendancy and growing influence of the Hallyu craze in the west.

But where does all this come from? The history of K-pop is generally considered to include three waves of development. We’ll take a look:

Origins (1990 – 1996)

Ask anyone how and where K-pop started, and you’ll see the same band mentioned every time: Seo Taiji and the Boys. This group, and their hit “I Know”, are widely regarded as the definitive canonical starting point of the K-pop industry. Their groundbreaking track achieved unprecedented success and marked a change in South Korea’s popular music industry that was, at the time, dominated by slower ballads. Seo Taiji and the Boys took elements of Western music ranging from rave culture to mainstream pop and new jack swing and mixed them together to create a high-energy sound that resonated with the times of a newly rich and technologically ascending nation. The group has amassed a loyal fan base and resulted in many similar acts seeking to explore the new sounds introduced in their wake.

Boom of the late 90s (1996 – 2000)

While the sound of Seo Taiji and the Boys provided the raw material for a local pop music industry, Korea needed to learn from its neighbor Japan on how to take the next step on the road to stardom. The phenomenon of music idols first became commonplace on the Japanese J-pop scene in the 1990s before spreading to Korea. Idols are multitalented performers who go through big boot camps and gathered in groups, or grown solo, under the supervision of industry specialists and talent scouts. The goal behind creating idols is to encourage fandom and identification with individuals in a group. Groups like HOT, aPink and Baby Vox were among the first of these “pop bootcamp” artists.

International success (2000 – Today)

As we moved forward into the 2000s, the size of K-pop groups continued to grow, with the average group size reaching around 10 members. Each member usually has a specific style and skill set that sets them apart from the rest, with particular performers specializing in dance, rap, or lead vocals. The biggest K-pop group today is NCT (Neo Culture Technology). This group has 23 members and can be broken down into several smaller groups, each with their own sub-genre and style. Groups such as Big Bang began to gain international acclaim, which led to the growth of the genre’s popularity outside of Korea. Then, in 2010, K-pop found its first true ambassadors in the form of boy band BTS. BTS were the first K-pop group to top US billboards and download charts with their 2020 single “Dynamite”.